Dietrich Buxtehude was most famous for his organ works, but beside this, he caused a stir by organising the innovative ‘Abendmusiken’ (Musical Evenings) that were probably the first public concerts to be held in a church. Bach was very impressed by Buxtehude’s compositions, especially the cantatas and organ works which he taught to his own students. Buxtehude developed a theatrical style of organ writing, the ‘stylus fantasticus’, a free, unrestrained method of composing. Beside these epoch-making organ and vocal works, outstanding instrumental and chamber music can be discovered in this package.

Georg Philipp Telemann, a close friend of Bach, ranked among the most famous composers of the Baroque. Incredibly prolific, he probably composed more works than Bach and Handel combined. The elegant style and extraordinary inventiveness of his music ranks him as an important precursor of Haydn, his music spanning the High Baroque and hinting at the later developments which would culminate in the Classical style. His famous ‘Tafelmusik’ (Table Music) was composed as entertaining background music for banquets at solemn occasions, while his orchestral suites and other chamber works brim with wit and good humour.

Though less well known, most of these composers have strong connections with the great masters of the epoch. Georg Böhm influenced the young Bach and is mostly known for his development of the Chorale Partita, a composition consisting of several variations on a chorale melody.

Johann Jacob Froberger was a famous keyboard virtuoso. Owing to his extensive travels he influenced the exchange of national musical tendencies between Germany, Italy and France. His harpsichord works masterfully assimilate Italian and French styles within the German tradition.

Georg Muffat is regarded as one of the first ‘international composers’ who creatively united the Italian, French and German traditions. He studied in France with Lully and spent some time in Italy where he met Corelli.

The generation of composers to which Muffat belonged was praised by Johann Joachim Quantz, the distinguished flautist, innovator in flute design and author of a famous treatise on flute playing. His path breaking flute compositions are still very popular today and can be enjoyed in this package.

Heinrich Schütz is regarded as the most important German composer of the early Baroque. He united the Italian, French, Flemish and German traditions into a new synthesis. His sacred music, in particular, reached new heights of spiritual and musical achievement.

Besides these, you are sure to enjoy the rarities by Johann Friedrich Fasch, Johann Caspar Ferdinand Fischer, Johann Christoph Graupner, Johann Pachelbel, Heinrich Scheidemann, Johann Gottfried Walther, Matthias Weckmann or Silvius Leopold Weiss included in this package.

Marc-Antoine Charpentier ranked among the most acclaimed composers of sacred music. In his more than 200 sacred works he adapted the Italian Baroque bel canto approach to the more declamatory French style. He also composed delightful instrumental works and incidental music for dramas of Moliere.

Italian by birth, Jean-Baptiste Lully is one of the most beloved of French Baroque composers. He spent the major part of his life in France at the court of Louis XIV where he wrote operas and ballets to entertain the king. His operas were of major influence for the development of this genre not only in France, but also in all other European countries. The rich orchestration of his overtures and ballet music influenced the composition of non-operatic orchestral works.

Jean-Philippe Rameau is highly acclaimed for his operas and harpsichord works. His beloved operas were criticised by the conservative supporters of Lully, yet they are today regarded as pinnacles in the French Baroque operatic tradition. The opulence of Rameau’s orchestration, the daring character of his harmonies and the beauty of his melodies have guaranteed him a firm following today.

South America

Also included in this truly exotic package are several albums containing music from other periods or by composers from the ‘Old World’ whose works were performed and enjoyed in the ‘New’.